DOCSLIB.ORG

AMIA Tech Review ©2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

October, 2010.Volume 2 “Where is Lina Lamont When We Need Her?” by Ralph Sargent Welcome again to the AMIA Technical Review. I want to thank the many readers who took the time to write to us with comments and suggestions. Without exception the comments have been positive and complimentary. Let me assure you that we’ll do everything we can to insure a continuance of this reaction! Some suggestions have been made regarding proofing, grammar and spelling. These too have been taken to heart and we shall institute methods to improve in this area. However, I guarantee that undue emphasis on these points will not deter our getting the Tech Review to your eyes in a timely fashion. But to paraphrase what Lina Lamont once said with her usual brilliance, “If we bring a little tech into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin'.” Moving on… This issue has seven articles split between two general themes: 1) Casting an eye and ear on historic sound tracks; and 2) New facilities and practices, both analog and digital, in film preservation now and for the future. This last category includes a discussion of the Library of Congress’ new Packard Campus technical facilities, an article on Digital Cinema technologies and the archivist, and two articles on color separation systems, one old and the other new. To help you out on these last two items, I’ve included a page from a book I wrote sometime back, “Preserving the Moving Image.” It will give the reader a quick introduction to color separation systems and hopefully help you better understand both color articles. I hope you’ll find all of the articles interesting and thought‐provoking. Once again we invite you to send us your reactions and comments regarding this issue and ideas or whole articles for the future. To paraphrase from my previous letter… Those of you who feel you have appropriate material to contribute, please feel free to advise us via a thematic proposal or précis of your article. If accepted for publication, your articles should 1 The Tech Review . October, 2010 AMIA Tech Review ©2010. Association of Moving Image Archivists. Editor’s Note. ©2010. Ralph Sargent. be received at the AMIA office no later than six weeks prior to next publication date. (Please email Laura Rooney at the AMIA Office for anticipated publication dates.) All articles or suggestions submitted are subject to review, condensation or augmentation and editing. Publication of the AMIA Tech Review will be web‐based in portrait format. The print version will be found as a PDF. Readers are encouraged to print whatever they wish for their own use; however, all material shall remain the copyrighted property of The Association of Moving Image Archivists or respective copyright holders as indicated and may not be reproduced for any other use in any form without the prior express written permission of the Association or indicated copyright holder. We encourage readers of the AMIA Tech Review to become members of ancillary trade associations such as the National Association of Broadcasters, the Audio Engineering Society, the Society of Television Engineers, the Society of Motion Picture and Television Engineers, etc. Cross‐pollination of technical information is important and we strongly support it! Finally, please let us know what you think. It never hurts to speak your mind in a civil and constructive manner. If there is some aspect of this publication you feel could be improved, please let us know. If there is something you liked, let us know. You get the idea…. Best wishes and see you in Philadelphia in November! Ralph Sargent, editor 2 The Tech Review . October, 2010 AMIA Tech Review ©2010. Association of Moving Image Archivists. Editor’s Note. ©2010. Ralph Sargent. October, 2010.Volume 2 Digital Cinema Technologies From the Archive’s Perspective by Arne Nowak Introduction During the last few years digital technologies have gained much ground in production, editing, post‐ production and exhibition of cinematographic work. This fundamental change of technologies also has had a large impact on archives. On the one hand archives have very successfully implemented digital restoration and digital distribution of films on the internet or via DVDs, as well as to digital cinemas. On the other hand archives will have to adapt and change existing procedures or introduce new processes because they will be confronted with digital material for deposit that is not bound to a carrier medium, as is the case with film or video cassettes. Instead the images and sound will come to the archives in the form of digital computer files. Digital cinema has evolved over the last few years, and even though various alternative systems and solutions are used in different parts of the world, most commercial productions in North America and Europe use a system that has its origin in the Digital Cinema Initiatives1 (DCI). DCI was a joint venture of six major American film production companies which together worked out an open specification for a digital cinema system. Many parts of this specification have been adopted by SMPTE and also transformed into standards by the international standardization organization ISO. This article is intended to give a basic introduction to the technologies and processes that are associated with the DCI / SMPTE digital cinema system. In the following sections I give an overview of the basic technologies that are used, describe important technical details of the Digital Cinema Package (the format that is delivered to the cinemas), point out how these packages can be produced and give some thoughts on implications of this system on archives. 1 http://dcimovies.com/ 1 The Tech Review. October, 2010 AMIA Tech Review ©2010. Association of Moving Image Archivists. Digital Cinema Technologies. ©2010. Arne Nowak. Basic technologies and standards The digital cinema system as it is used today in North America and Europe is defined by a set of SMPTE standards which are mostly based on the voluntary specification of the DCI. Currently, SMPTE standard documents exist and are effective for all essential parts of the systems. Ongoing work in standardization is mostly concerned with additional features and extensions such as the recently released additional frame rates document that introduces the possibility of other frame rates than the originally specified 24 and 48 FPS. Many of the SMPTE standards for digital cinema also have been adopted by the ISO in its technical committee TC362. The SMPTE standards take care of different important technical aspects of digital cinema. A complete list can be found at http://www.smpte.org/standards/NumberIndex.pdf. The documents describe the D‐ Cinema Distribution Master (DCDM, SMPTE 428), D‐Cinema Packaging (DCP, SMPTE 429), D‐Cinema operations (including key management for encrypted packages, SMPTE 430) and D‐Cinema quality for projection (SMPTE 431). All of these documents contain references to other standards from SMPTE, ISO and other organizations that describe certain technical details, and there exist also several SMPTE Recommended Practice documents for D‐Cinema. The DCI Digital Cinema System Specification, which is available for download free of charge at http://www.dcimovies.com, contains very detailed descriptions of the technical aspects and serves as a good reference, since huge parts of this specification have been included in the SMPTE standards. The DCI Specification additionally contains very detailed information about all encryption and content security related aspects and serves as the operational guideline for the studios that are involved in the DCI. All technologies that are used within the SMPTE / DCI D‐Cinema system are openly available and can be used free of license or patent fees of any kind by all interested parties. This allows any person, company or organization to develop systems or software that comply with these standards. In fact, besides several commercial solutions to create Digital Cinema Packages (DCP), at least one free open source software implementation exists to do this. The SMPTE / DCI D‐Cinema system is centered on the DCP. This is the compressed format in which digital movies are delivered to the cinema and from which they are projected. D‐Cinema is essentially a file and IT‐oriented environment. The DCP is a set of files that contain images, sound, subtitles and additional files to control playback and optional encryption of the content. Images and sound are stored in separate files that are called track files and there is the possibility to divide a movie into several reels. That means the complete set of images and sound data and also subtitles are split into several files of arbitrary duration. The playback order is controlled by a Composition Playlist (CPL) that includes references to the image, sound and subtitle files. A DCP can contain more than one CPL. This makes it possible, for example, to create a multi‐language DCP that contains only one set of image track files that are used for all language versions but several sets of sound track files, one for each language. Each CPL now contains references to the shared image track files and the sound track files for each language. 2 http://www.iso.org/iso/iso_technical_committee?commid=48090 2 The Tech Review. October, 2010 AMIA Tech Review ©2010. Association of Moving Image Archivists. Digital Cinema Technologies. ©2010. Arne Nowak. The following sections of this article give explanations of the technical details of a DCP, including encryption and access control, the mastering and creation of DCPs, and discuss the relevance of DCPs in film archives and implications related to their use as a deposit, exhibition and distribution format. The Digital Cinema Package Overview The main intention of the DCP is to serve as a flexible and secure format for delivery and projection of digital movies on a very high quality level.
Recommended publications
  • I32-1997 the Use of Super 16 Mm Film for Television Production

    I32-1997 the Use of Super 16 Mm Film for Television Production

    EBU Technical Information I32-1997 The Use of Super 16 mm Film for Television Production EBU Committee First issued Revised Re-issued PMC 1997 Keywords: Film, 16:9 Telecines 1. Introduction This EBU Technical Information document reports on the way and extent that EBU Members and their programme suppliers use Super 16 mm film in 4:3 and 16:9 television production. A questionnaire was sent to EBU Members and other organisations involved in programme production for EBU Members. Replies were received from 36 organisations; 31 broadcasting organisations and 5 film and/or video post-production organisations. The replies showed that 26 organisations were using Super 16 mm; 22 of these were broadcasters located in Austria, Belgium, the Czech Republic, Denmark, Finland, France, Germany, Japan, Greece, the Netherlands, Norway, Poland, Slovakia, Slovenia, Spain, Sweden, Switzerland and the United Kingdom. The present Technical Information document is based on the replies to the questionnaire. In a parallel exercise, the EBU has attempted to give a comparison between the costs of using Super 16 mm and 35 mm film for television production. This comparison is given in Appendix 1 2. Main Applications of Super 16 mm Film 2.1 Types of programme produced on Super 16 mm film Super 16 mm film is mainly used for single camera drama and documentary production. The final product may be intended for television release only, or, in the case of a co-production, it may be intended for both television and cinema release. 2.2 Reported advantages in the use of Super 16 mm film The reported advantages of producing in Super 16 mm film, as compared to 35 mm film, are lower costs of camera film and equipment, lower costs of film laboratory services, and a smaller technical staff needed for shooting.
  • Film Printing

    Film Printing

    1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record
  • History-Of-The-Moving-Image-LIB-Pd

    History-Of-The-Moving-Image-LIB-Pd

    tEl:T. n83 MASTERPIECES OF MOVINGIMAGE TECI{NOLOGY SEPTEMBER 10, 1988 _ MARCH 19, 1989 Descri ption! gf_fhq Objects in the Exhibition American Museum of the Moving lmage Edison KinetograPh Camera 1891 ln 1888, Thomas Edison set out to create "an instrument that does for the Eye what the phono- graph does for the Ear...." He assigned the project to one of his engineers, W.K.L. Dickson, who, after a series of false starts, completed the Kinetograph in 1891. The Kinetograph was the first motion picture camera to use the Eastman celluloid f ilm; this was a key breakthrough which made modern motion pic- tures possible. The camera photographed circular images one-half inch in diameter on perforated, f lexible strips of film which moved horizontally through a mechanized sprocket system' The prototype was cannibalized for laboratory use soon after completion, but was partially reconstructed in '1895-96 as evidence in a patent dispute. (Lent by the Edison National Historic Site) <Technician Charles H. Kayser posing with the Kinetograph in Edison's West Orange, New .lersey laboratory, c. 1891 . Edison KinetoscoPe 1894 To exploit his moving pictures commercially, Edison introduced the Kinetoscope, a "peep-show" viewer capable of presenting half-minute film shows. The machines were sold on a territory basis to showmen who installed them in arcades and Kinetoscope Parlors in all the major cities of America and Europe' Commercially, the Kinetoscope was a short-lived novelty, but its appearance directly inspired other inventors to find a way of projecting moving images onto a screen. (Reproduction made by A.
  • Mellon Guide.Qxd

    Mellon Guide.Qxd

    THE FILM PRESERVATION GUIDE THE BASICS FOR ARCHIVES, LIBRARIES, AND MUSEUMS National Film Preservation Foundation San Francisco, California National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2004 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data The film preservation guide : the basics for archives, libraries, and museums. p. cm. Includes bibliographical references and index. ISBN 0-9747099-0-5 (alk. paper) 1. Motion picture film—Preservation. I. National Film Preservation Foundation (U.S.) TR886.3F58 2003 778.5’8—dc22 2003024032 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Credits Except as noted below, all photographs were provided by Barbara Galasso and the L. Jeffrey Selznick School of Film Preservation at George Eastman House. The following contributed illustrations and text material: American Museum of Natural History (94), Anonymous (67), California Pacific Medical Center (57), Chace Productions Inc. (12 center and right), Duke University (48 top), Estate of Edith Lutyens Bel Geddes and the Harry Ransom Humanities Research Center at the University of Texas at Austin (84), Florida Moving Image Archive (91), Image Permanence Institute at the Rochester Institute of Technology (10 top), Library of Congress (48 bottom, 51, 63, 87), Minnesota Historical Society (92), National Center for Jewish Film (90), Nebraska State Historical Society (69, 73, 74), Northeast Historic Film (back cover, 62 bottom, 76, 85), Oklahoma Historical Society (5), Pacific Film Archive at the University of California at Berkeley (back cover), Sabucat Productions (93), UCLA Film and Tele- vision Archive (86), University of Alaska Fairbanks (40), University of South Carolina Newsfilm Library (89), Visual Communications (58).
  • KODAK Motion Picture Products Price Catalog for the United States

    KODAK Motion Picture Products Price Catalog for the United States

    KODAK Motion Picture Products Price Catalog for the United States EASTMAN KODAK COMPANY, ROCHESTER, NEW YORK 14650 FOR DIRECT CUSTOMER USE ONLY EFFECTIVE AUGUST 2, 2021* ©2021 Kodak. Kodak, Eastman, Ektachrome, Estar, Tri-X, Double-X, Keykode, Vision, and Wratten and the Kodak logo are trademarks. Prices are subject to change without notice. * Effective date may vary, please see top of each page for current effective date. MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 US Film Pick Up Location 7758 Sunset Blvd Hollywood, CA 90046 Phone: 323-499-1012 To Order Film and Other Items Monday – Friday, 8:00 am to 5:00pm Eastern Time Call KODAK Customer Service: (800) 621-FILM (3456) Fax Orders: (800) 648-9805 Email Orders: [email protected] Technical Product Support [email protected] KODAK Film Laboratories New York 37-18 Northern Blvd. Long Island City, NY 11101 Suite 101 Tel: (718) 606-9263 Email: [email protected] Atlanta Lab/Delivery and Drop Off: 2156 Faulkner Road Atlanta, GA 30324 Tel: (404) 633-1449 Telecine: 6 West Druid Hills Dr. NE Atlanta, GA 30329 Tel: (404) 545-3172 Email: [email protected] London The Ken Adam Building, Pinewood Studios Pinewood Road, Iver Heath Buckinghamshire SL0 0NH. Tel: 0208 993 9779 Email: [email protected] 2 MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 Table of Contents US Film Pick Up Location ....................................................................................................................................................................................................
  • WIDE SCREEN MOVIES CORRECTIONS - Rev

    WIDE SCREEN MOVIES CORRECTIONS - Rev

    WIDE SCREEN MOVIES CORRECTIONS - Rev. 2.0 - Revised December, 2004. © Copyright 1994-2004, Daniel J. Sherlock. All Rights Reserved. This document may not be published in whole or in part or included in another copyrighted work without the express written permission of the author. Permission is hereby given to freely copy and distribute this document electronically via computer media, computer bulletin boards and on-line services provided the content is not altered other than changes in formatting or data compression. Any comments or corrections individuals wish to make to this document should be made as a separate document rather than by altering this document. All trademarks belong to their respective companies. ========== COMMENTS FOR VERSION 1.0 (PUBLISHED APRIL, 1994): The following is a list of corrections and addenda to the book Wide Screen Movies by Robert E. Carr and R.M. Hayes, published in 1988 by McFarland & Company, Inc., Jefferson, NC and London; ISBN 0-89950-242-3. This document may be more understandable if you reference the book, but it is written so that you can read it by itself and get the general idea. This document was written at the request of several individuals to document the problems I found in the book. I am not in the habit of marking up books like I had done with this particular book, but the number of errors I found was overwhelming. The corrections are referenced with the appropriate page number and paragraph in the book. I have primarily limited my comments to the state of the art as it was when the book was published in 1988.
  • The Essential Reference Guide for Filmmakers

    The Essential Reference Guide for Filmmakers

    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
  • EBU Tech 3289-2001 Preservation and Reuse of Film Material For

    EBU Tech 3289-2001 Preservation and Reuse of Film Material For

    Tech 3289 Guidelines for Broadcasters Preservation and Reuse of Filmmaterial for television May 2001 European Broadcasting Union Case postale 45 Ancienne Route 17A CH-1218 Grand-Saconnex Geneva, Switzerland [email protected] PRESERVATION AND REUSE OF FILM MATERIAL FOR TELEVISION Summary Future television production systems will require easier access to archival film material in an electronic digital form, for both preview and production purposes. In order to meet these requirements, broadcasters will need to transfer large collec- tions of film material – a very time-consuming and expensive operation. Regretta- bly, some of the film material in their vaults may already have started to degrade, due to adverse storage conditions. This document offers comprehensive guidelines to broadcasters on the handling, storage and reuse of motion picture film material for television production, both now and in the future. The telecine transfer process is discussed in detail, with special attention being given to its replay and correction properties. The document also discusses the effects of storage conditions on film material, and the problems encountered when handling endangered, degraded, material in a broadcast environ- ment. There is specific advice on how to check, preserve and store film material. Special attention is paid to the so-called “vinegar syndrome”, which is considered the major threat to the future reuse of acetate-based film material. The EBU working group which produced this document would like to acknowledge Eastman Kodak Company, the Image Permanence Institute and the Rochester Institute of Technology for the facts and figures on motion picture film properties and behaviour that are quoted here.
  • Starting from Scratch Introduction Introduction

    Starting from Scratch Introduction Introduction

    1 2 contents 3 Starting From Scratch Introduction Introduction ...................................3,4 The (Lab) Collectives ......................5 Lafoxe ................................................6 Starting from Scratch has been the place where lovers Metamkine ........................................7 and makers of ‘old-fashioned celluloid’ have been able to The Wooden Lightbox ................... 8 meet for several years now. The umbrella festival theme Fellini G. Mastorna ......................... 9 Free Radicals, with its focus on independent lab collec- De Un Vastisimo Mar ....................10 tives, may be applicable more than ever in this edition. Le Point Aveugle ............................ 11 Super 8 Game Arcade ...................12 In many places in the world, people work with film as if Okuyama Jun’ichi - film 16mm is Regular8 Japanese 8mm kicks ass ....13,14,15 there has never been a digital revolution. Countless dedi- Destra O Sinistra ...........................16 cated film makers consciously choose the ‘old-fashioned’ Paradiso Stills - Stil Levens .........17 medium, just because film turns out to be the best way to Ways To Walk.............................18,19 express their ideas. In this case, focus, grain, contrast or Let’s Make A Film .................... 20,21 colour are not only technical building blocks of the final From Niagara To Japan ....... 22,23 image, but also elements with which you can manipulate The Filmfarm Touch ..............24,25 an experiment to your heart’s content – important is- of colours
  • Eastman EXR Films That Have Long Been

    Eastman EXR Films That Have Long Been

    KODAK motion picture camera films price catalog Effective April 1,1998 Professional Motion Imaging WELCOME Here's to those who tell stories on film... Those who work with light and shadow, color and texture, to capture images that have never been captured in quite the same way before. Here’s to those who transform words on paper…and sketches on a storyboard…into images on a screen…images that are often beautiful, sometimes harsh, but always real. Here’s to those who bring imagination to life…and give life to imagination...those who collaborate and create…with the artistic integrity and sheer perseverance to take an audience to places it has never gone and to show them things they have never seen. Here’s to the cinematographers who depend on Kodak films…extraordinary films designed with the help of the world's greatest cinematographers—and backed by superior service and support—to help filmmakers do extraordinary work, wherever films are being made. Today, Kodak continues to rewrite the rules of imaging… • with Kodak Vision color negative films that combine true film speed—with exceptional grain and sharpness—in ways they've never been combined before… • with Kodak Primetime 640T teleproduction film that brings the benefits of Kodak Vision film technology to television… • and with Eastman EXR films that have long been the workhorse of the industry and have been behind the world's best-loved movies. There is a new energy and excitement at Kodak today…an enthusiasm, an eagerness, and a unique capability to push the boundaries of film technology… Here’s to those who tell stories on film…with the finest films Kodak has ever made.
  • A Review of the Malaysian Film Industry: Towards Better Film Workflow

    A Review of the Malaysian Film Industry: Towards Better Film Workflow

    A REVIEW OF THE MALAYSIAN FILM INDUSTRY: TOWARDS BETTER FILM WORKFLOW ABDUL RIEZAL DIM A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol September 2016 ABSTRACT This thesis investigates the existing film workflow processes in Malaysia and aims to explore, review and reflect on the expectations, experiences, preferences and problems experienced by practitioners. In-depth examination of real practices of colour film workflow, investigating the common myth among Malaysian filmmakers that environmental colour temperature affects the image quality of Malaysian films. Analysis of this myth may help to establish why many Malaysian films have been processed through foreign laboratory. Evidences from film industry were recorded through qualitative video documentation, alongside quantitative data from filmstrip test. This mixed action research method forms the main approach collectively with participatory action research as a tool to narrate the development of the research. In justifying the data, an explanatory mixed method design has been applied. The cooperation with expert witnesses in finding a solution to the research problem brought to the circle of practice-based research processes that validated the research. This validation becoming a central of investigation about the Malaysian film workflow complication. The initial technique (pursing the myth of colour temperature variation) proved inadequate, and, consequently, a broader action research methodology was adopted. As such, the filmstrip test data were used more as a tool to enhance the contributions of the expert witnesses, thereby shifting the direction and strengthening the research findings.

  • Universal the World’S Most Optics

    44 www.digitalvision.world Universal The World’s Most Optics Versatile Film Scanner With the unique Universal Optics, film from 8mm to 70mm, including Pathé and every Developed with archive and restoration in mind, Golden Eye has matured into the leading format in between can be scanned without film scanner in this field. With a high quality LED light source and its truly unique Universal change of optics. Optics, the Golden Eye scanner heralds a new era of quality film scanning, previously The Universal Optics system is controlled unavailable at this price point. The Golden Eye is a high-speed, high-resolution film scanner though the Golden Eye software. This adjusts for motion picture film. High performance and flexibility make the scanner the perfect system focus and zoom, moving the optics into the for preservation, restoration and archival work. correct position when a new format is selected. Changing formats is as simple as changing the Real-time scanning at 2K resolution and up to 11 fps in 4K, Golden Eye is the most cost- skid plate and then selecting the new format in efficient, quality film scanners available today. Immediate primary grading can be carried out the software. All optical changes are automated. on the system before scanning, using the colour management controls and operator panel. Scan size can be SD, HD, 2K, 4K or custom sizes. A capstan drive with continuous movement of the film and sprocket less optical registration, results in minimum wear on fragile film and film perforations. The scanner was designed to handle film in any physical condition.